Maya Mikhailovna Plisetskaya is a great ballerina, a talented, unusual woman who conquered the whole world with her creativity.
Maya Plisetskaya's biography is full of ups and downs, the prima's career was a real climb up a steep ladder, and her personal life is replete with love affairs. During her long life, the prima not only danced ballet roles, but also acted in films with famous film directors, participated in productions dedicated to flamenco, and was a choreographer and choreographer in several theaters around the world.
The great ballerina Maya Plisetskaya devoted her entire life and gave all her energy to ballet without reserve. Prima believed that this greatest art has no boundaries and no nationality, and the viewer understands it on the verge of sensory perception.
Family and childhood of Maya Plisetskaya
Maya Mikhailovna Plisetskaya was born in Moscow into a huge Jewish family. Six years later, her middle brother Alexander was born, who later became a choreographer, and six years later, her younger brother Azary, a future choreographer, was born.
Maya Plisetskaya with mom and dad
She had 11 uncles and aunts, and all of them were somehow connected with ballet and dance. For example, my mother’s uncle Asaf Messerer was a virtuoso dancer and an excellent teacher.
The mother of the future great ballerina Rakhil Mikhailovna Messerer (nee) was the star of the “Great Silent Cinema”. She attracted the attention of both spectators and directors. Due to her characteristic appearance: dark hair and oriental features, she often got the roles of Uzbek women. True, she had to give up her career as an actress because of her husband and children.
Family of Maya Plisetskaya: with mother and brother
But Maya’s father, Mikhail Emmanuilovich, held economic and diplomatic positions. First he worked in the executive committee, then in the commissariats of foreign affairs and foreign trade. The father of the future star also took part in the production of films, where he met his future wife.
In 1932, he was appointed to manage the coal mines in Spitsbergen, and the whole family had to move. There he simultaneously held the position of Consul General of the USSR.
Maya Plisetskaya in her youth
It was on the island of Spitsbergen that little Maya first appeared on stage. She played her first role in the opera “Rusalka” by Dargomyzhsky. From that moment on, the little girl could not sit still and began simply dreaming of the stage and performing in public. It was as if she was preparing herself for a brilliant future and constantly sang, danced, and improvised. The family decided to send the fidget to a choreographic school upon returning to Moscow. Seven-year-old Maya was sent to the class of former Bolshoi Theater soloist Evgenia Dolinskaya.
In May 1937, Maya’s father was taken away by security officers and a year after his arrest he was shot on suspicion of espionage. A few months later, his wife Rachel was also arrested. This happened right at the Bolshoi Theater, at a time when “The Sleeping Beauty” was on stage and the aunt of the future ballerina Shulamith was performing. Rachel Plisetskaya-Messerer received 8 years in prison as the wife of an enemy of the people. She, along with her newborn child (younger son Azariy), was placed in the Akmola camp for the wives of traitors to the Motherland. It was only thanks to the efforts of her close relatives that she was initially transferred to a free settlement in Chimkent. It was only in 1941 that her sentence was commuted and she was allowed to return to Moscow.
Ballerina Maya Plisetskaya
The middle son Alexander was sheltered by his uncle Asaf, and 12-year-old Maya was adopted by her aunt Shulamith. A kind relative took in her orphaned niece so that she would not be sent to an orphanage. True, as Maya Mikhailovna later admitted, the aunt did not just benefit her niece. She demanded that the girl be grateful to her and often humiliated her.
The beginning of the career of Maya Plisetskaya
Maya Plisetskaya’s first significant performance at the Bolshoi Theater took place on the eve of the fateful day for the Soviet Union.
Less than a day before the start of the Great Patriotic War, the graduation concert of the choreographic school took place on the stage of the branch of the State Academic Bolshoi Theater. Maya Plisetskaya - “The Swan” (film-ballet 1975) But the war made its own adjustments to the future fate of the prima. Since September 1941, Maya Plisetskaya’s family was evacuated to Sverdlovsk. Unfortunately, it was impossible to continue studying or practice ballet in the city. To complete her studies, the 16-year-old girl decided to run away to Moscow, where classes at the Moscow Choreographic School continued even during the war. She was enrolled again, but this time directly into the graduating class in the course of Elizaveta Gerdt and Maria Leontyeva. In 1943, her training was completed, and Maya was immediately accepted into the staff of the Bolshoi Theater.
Maya Plisetskaya and Yves Saint Laurent
From the very first steps on the stage of the Bolshoi Theater, Maya's individuality, her expressiveness and dynamics of dance, and special passion were evident. Success was not long in coming. Plisetskaya received recognition in the ballet Chopiniana, where she performed a mazurka. Each jump of Maya caused incessant applause.
The girl loved to dance, but she didn’t want to work. Much later, she began to understand how interesting and creative the daily work of a ballerina can be. The path to the top of Plisetskaya’s career can still be compared to climbing a ladder: she climbed gradually to her main roles. For example, in the ballet “The Sleeping Beauty” she was first the fairy Lilac, then the fairy Violante, and then Aurora. In Don Quixote, the ballerina danced almost all the female roles and finally received the role of Kitri.
Maya Plisetskaya - Raymonda, 1959 In 1948, Maya danced Giselle in the ballet of the same name. And after Galina Ulanova left the theater for a well-deserved rest, Plisetskaya became a prima ballerina and received solo roles. Her unique dance style, flexibility, plasticity and graceful hand movements are recognized all over the world. She created her own unique style of ballet, which earned her worldwide fame.
True, not everything went smoothly in the ballerina’s career. She could not get along with the chief choreographer of the Bolshoi Theater, Yuri Grigorovich, and over the years this confrontation only intensified.
Galina Ulanova and Maya Plisetskaya during a rehearsal. 1969
In 1956, the theater troupe went on a foreign tour to England for the first time, but Maya Plisetskaya did not receive permission to leave the country. They tried to accuse her of espionage and for the next five years she was banned from traveling abroad. But the ballerina successfully toured the country, winning the love of her compatriots. In 1959, Plisetskaya was awarded the title of People's Artist of the USSR.
Niece of Maya Plisetskaya: “They killed my grandfather like a dog and threw him into an unmarked grave”
— Anna, the name of your father Alexander Plisetsky, it seems to me, is better known in Latin America, where he created ballet troupes.
“He was the most beautiful, talented and kind.” Everyone loved him very much. He danced Vaslav in “The Fountain of Bakhchisarai” at the Bolshoi Theater, then became an impresario, choreographer and director all rolled into one. Dad was in a hurry to get everything done. He staged programs and performances all over the world: in Australia, Peru, Tatarstan, Ukraine and Georgia. He had a titanic task - organizing Maya Plisetskaya's tour in different countries, sometimes he had to create a troupe from scratch in the most difficult conditions, and his sister came to dance with everything ready.
She took this work for granted; after all, a star can only be worshiped and served. He dropped her off and waited while she dug for two hours. All you could hear was: “Alik, Alik!” He did not refuse his sister anything, once he drove a Mercedes for many kilometers to sell and found a buyer - a famous sculptor, so that Maya could buy an estate in Trakai, near Vilnius.
Anya with her parents Marianna Sedova and Alexander Plisetsky.
— Your dad passed away early - at 54 years old.
- He overstrained himself. Heart surgery could no longer be postponed. At that time, I auditioned for the film “Mary Poppins, Goodbye,” in which I also choreographed dances for myself, having graduated from the first class of the Vaganova Leningrad Choreographic School, and after the film was released, I became a celebrity. Alik managed to go to St. Petersburg to film me in the solo “Children’s Dance” in “Shural”, and to Tbilisi to stage the first production of George Balanchine’s “Serenade”.
A letter from Igor Yuskevich with an invitation to America for an operation arrived in the summer of 1985. But on October 29, dad died on the operating table in a Moscow clinic. The previous evening he had spent the evening visiting, where he raised his glass and said that “perhaps tomorrow’s operation is suicide.” I had a presentiment...
“For Maya, the death of her older brother was a terrible blow...
“She constantly cried out of resentment at such injustice, feeling more and more loneliness and emptiness. Maya did not look for anyone in return until she was bombarded with all sorts of dubious offers, which she accepted passively and detachedly, on the one hand, and willingly if they pleased her pride, because when an artist feels unloved, he must receive compensation in the form of applause and flowers in large quantities.
“Her childhood was not strewn with roses...
— Maya lost her father at the age of 12. He was arrested in 1937; the night search lasted 4 hours. He was tortured for 8 months, then killed and buried in Kommunarka. The Soviet consul was thrown into an unmarked grave like a dog. And then they took his wife Rachel, a silent film star, very talented. The tragedies were never remembered in the house, it was as if they had not happened, only at times a mournful martyr’s sadness was visible. Grandmother looked at many things easily. During the war, Maya had great difficulty getting sandals. She went down to the river, took these sandals, put them into the water and was touched: “Like boats float!” And Rachel rejoiced with her, and her Russian mother would have slapped her butt.
— You studied at the Vaganova Choreographic School (today the Vaganova Academy of Russian Ballet) and lived in a boarding school for 10 years. How do you remember this time?
— I was thin and long, then they loved people like that. In my senior year, everyone envied me: the girls developed, they developed curves, but I remained thin, like a teenager.
My parents visited me, but Maya never came. She gave me a beautiful checkered coat, no one else had one like it. She had very good taste and she guessed my size.
I recently came to St. Petersburg and saw a sad girl at the Ballet Academy, she had nowhere to go. I thought: everyone will go home, and she will go to the hall to rehearse and sleep. When I was studying at a boarding school, Grandma Rakhil would put either three or five rubles in an envelope for me. I sent apples from Zagoryanka. Thanks to Rachel, I had a rich childhood. She was always talking and reading something. This inner filling helped me a lot when I became lonely.
Anna in the ballet "The Vision of the Rose". Mariinskii Opera House.
— How did things work out for you at the Mariinsky Theater, where you were accepted after college?
“I came to the theater at a unique time, when the old generation was replaced there. Before this, you had to stand in the corps de ballet for 10 years in order to be given a solo. The season began in September, I was already given one solo - the part of Effie in La Sylphide, and another in October. Every month there is a new solo. And so is my entire issue. The corps de ballet did not stand for a day, only in case of force majeure.
— Why did you leave the Mariinsky Theater?
- It was some kind of stupidity. I argued with the artistic director and left. I didn’t even bother to write a statement - here’s another one! I thought: when I want, I’ll come back, but I was spinning. She went under contract to Lausanne, to Béjart. It should have been five years later, because usually artists come to him after thirty. The season was dancing, and the haute couture star Gianni Versace made me a dress, but it was not ready for the dress rehearsal, and I wore a lovely chiton from Anna de Giorgio. Then Gianni brought it himself and personally tried this outfit on me, it was almost impossible to dance in it, the dress was so big. In addition, there were huge lit candles on the stage, and with one of them I lightly set this expensive dress on fire. Gianni was very sweet, he had such warm energy, he stood in the wings and, tremblingly taking my hand, asked: “Ça va?” ("Everything is fine?")
When I returned to St. Petersburg, changes in management began at the Mariinsky Theater. There was no repertoire, and everyone fled. I’ll tell you more: ballet dancers of my generation have dual citizenship or don’t have a Russian passport at all. This is the reality of the 90s.
— But you also had a solo career?
— I became fascinated by the choreography of Kasyan Goleizovsky, where sensual musical intonations required exquisite plasticity for their expression. The duets and solos from the ballets “Three Moods” by Scriabin, the Polovchanka from “Prince Igor” by Borodin and “Gypsy Dance” by Zhelobinsky, conveyed first-hand and a technically complicated number, premiered on the stage of the Japanese Bunka Kaikan, which no one had ever done before, were a huge success. danced like me. There were five thousand spectators in the hall.
— Probably, you were involuntarily compared to Maya Plisetskaya?
- Maybe. When I played the main role in the last ballet film by Alexander Arkadyevich Belinsky “Tarantella”, the director after the first take exclaimed: “She dances like Maya in her best young years!”
— Why weren’t you accepted into the Bolshoi Theater? What happened then?
- This is a total nightmare, complete nonsense. They weren't going to take me. Choreographer Boris Eifman met someone from the management in the corridor of the Bolshoi Theater and said, referring to me: “Congratulations on this valuable acquisition!” He grinned: “We haven’t purchased anything yet, we’ll still look!” They created a whole commission, like an artistic council, in order to unanimously, on orders from above, make sure that I was not in the theater.
— How was the show?
— What I showed there, I danced a hundred times all over the world. And this happened to me for the first time. I don’t understand why I even did this. It should have been cancelled.
There are people who are interesting to watch in the hall, but on stage they turn into scenery. And their lines are wonderful, and they raise their legs high, but there’s nothing to look at. And there are artists who are interesting to watch on stage. They put on a performance like Maya, who was sometimes clumsy in the audience. I am also a person of the stage, not of the audience.
— You could become a ballet star. There was everything for this: abilities, external data, and a big name. Although I know there were characters who wrote to you: “You are nobody!”
- It was like this: “there is Plisetskaya, but don’t interfere.” My kinship didn’t help me, it only got in the way. There were no advantages. They told me after Mary Poppins, Goodbye, where I played the role of Jane: “You should have gone to America and become a Hollywood star.”
- If you had left, everything could have gone according to a different scenario.
- We are all strong in hindsight. My story would have turned out differently, but this would not have happened. I experience things in life that I would not experience under other circumstances. Sometimes it seems to me: that’s it, you’re rolling into a hole, and there, it turns out, it’s even more interesting and you’re pushed up even more. What can break a person? This is everyday life or when someone is nearby, who drinks blood from you, pulls and pulls, and it feels like it’s taking you to the grave...
— Maya Plisetskaya had no children. Did she love you?
- Did you love? I guess I do not know. Sweet, slobbery displays of affection are not her genre.
Maya had an incredibly difficult life. She was constantly required to give out and prove something. If someone came and cried, she helped. She was a beggar, and everyone around her was making money. I have never seen Maya have any excesses; she was distinguished by wild asceticism. She didn't even have a cell phone. It has generally been lost in the age of information technology and commerce. The word “Internet” made her shiver.
She was trusting, and constant need pushed her to all sorts of adventures, be it the “unhappy and persecuted show diva” who used her name for many years to promote his own, or the businessman who received money from her impresario and, without paying his provincial troupe, tried to knock out the theater and school by signing an enslaving contract with a middle-aged ballerina. Then somewhere she sent a letter to use her name, and they began to produce Maya Plisetskaya creams. This whole circus haunted her for many years and resumed after her death, when dubious personalities with a dark past surfaced, wanting to get rich and open amateur enterprises.
I have been holding domains of all variations of this surname for 15 years in a row. Otherwise they will hang porn. It costs money, believe me.
- Have you ever been offended by your aunt?
“She could have offended, but she could have done something mean—no, never.” She was a straightforward person and openly expressed her dissatisfaction. And I was sometimes offended by her too. They incited her, turned her against me. One day she called me and said something stupid: “You are not allowed to go out under my name.” And then she added for someone who was sitting next to her: “Am I conveying it correctly?”
She was like this even as a child. Rachel said that Maya was furious, throwing pillows, and then said: “That’s it, the freak is over!”
— Did he and Rodion Shchedrin live well?
- About the same as Lyubov Orlova and Grigory Alexandrov. Must be a beautiful couple. Who will ask what kind of relationship there is? He sometimes spoke harshly to her, and she obeyed him. She was modest in everyday life. She was never capricious, never shifted her problems onto others. Like Rachel. When I visited Rachel in 1992, I didn’t know that she had cancer.
— Did Maya love jewelry?
— Fans gave something. Just don’t make a story out of this with Zykina, who was poor compared to businessmen. Maya didn't even have money for shoes. She took her pension, we went to the store, where I negotiated a 30 percent discount. There was enough money for two pairs of shoes. For some reason she wanted to buy pumps with heels, I said: “You won’t wear these, your bone will hurt!” - “No, I’ll buy it.” Naturally, these shoes were then distributed.
Maya recalled how even before my birthday they went on tour to the West. The artists lived in a five-star Sheraton, and the unbearable smell of canned soup floated down the corridor. The impresario, who spent 300 thousand for a tour, asked: “What, what is this?” They explained to him that they received $5 a day, and they still needed to clothe their family. Maya gave about 80 percent of the prima's fee. We were walking with her once along the street in Madrid, and she dreamed: “If only I could spend it all!” Then these things were given to me, because with these suitcases she was not allowed to go to Munich, to a tiny apartment where she could only sleep under the piano. All my clothes were from her.
— Maya had a phenomenally long life on stage.
“She worked a lot on contracts. The impresario demanded more and more, the public came to her in any form: even dance with your hands, even just come out, but be! She is tired. And she was generally passive. Any creative person is waiting for someone to call him. This is a habit from the Soviet past. Maya said: “I don’t want anything, I don’t need anything anymore.” She wanted to listen to music, go to concerts, socialize. She loved restaurants very much. If I had the opportunity, when a familiar impresario came, I called her. They sent a beautiful limousine for us, and we went to dinner at Pushkin. Maya loved to eat delicious food. In Japan, she took me to a restaurant, we were invited by the director of Pierre Cardin, he was Japanese, and lunch there cost a thousand dollars.
Maya was bored sitting in Munich. Unlike Rodion, who speaks excellent German, she didn’t know a word. In this regard, she was completely helpless.
“She’s very lucky with her figure.” She loved to eat, did not tolerate diets, and did not store fat!
- Sometimes it was postponed. She had very beautiful breasts, the same as Rachel’s, at least a size three, and semicircular hips. She once lost a lot of weight when she danced with Bejart. He loves skinny people. And in her youth, Maya was plump.
With Bella Akhmadulina.
— The artist Boris Messerer is your uncle. How does Bella Akhmadulina remain in your memory?
- Bella... “A draft flashed and ruined the candle” - I was not ten years old when I memorized these lines. Dad signed several books.
It was wonderful to communicate with Bellochka. In my opinion, we lived in the same world with her. When I was very little, she said: “I want to feed this child, he is very thin.”
I don’t drink alcohol because my body is almost like that of the Japanese who, after a day of work, can’t get on the train because they drank a quarter of Asahi. They do not produce the enzyme. One doctor told me: “You need a piece of meat with red wine for dinner, it will give you strength.” I don't eat meat. He said, “Wait! Winter will come - eat it." And I don’t have winters in my life. I rarely spend winter in Russia.
About ten years ago I was in a company: barbecue, vodka. I drank and I don’t feel anything. Why drink then? But with wine it’s the opposite. Half a glass at lunch, and he leads me. Bella had the same thing. We are sitting at lunch. Boris looks at her glass: “You can’t, dragon!” She drank a little and “went”...
She was incredibly thin, with very thin legs. One day she was sitting in black leggings, raising her legs high: “I can do that too!” The image of Bella was created by Boris, as was the image of Carmen. This is absolute symbolism.
—Are you coming to the ballet barre now?
- Sometimes. Two years ago I was at the Academy of Russian Ballet, but they survived me. I don't have a pension.
- Anna, you never talk about your personal life.
“It doesn’t exist, because you won’t meet people like you did in the last generation now.” The release has been discontinued. To stay in my life, you must not let me read you quickly.
- Forgive me, of course you don’t have to answer, but why didn’t you, so beautiful and talented, give birth to a child?
- Nothing. No money left. Maybe I will still have a child. But for now I’m the last Plisetskaya.
— Anna, is there life for you outside of ballet?
— My main drawback is my inability to PR. And where will I go today? In this pop music? I have a management education, I have done serious projects from scratch and without a budget. I managed to create a touching and holistic performance “The City through the Eyes of Jazz” on the stage of the Tchaikovsky Concert Hall, a vocal program performed in the Kremlin Palace, as part of an orchestra of 12 people. I can do a lot, I even make furniture with my own hands. Compared to my ancestors, I have a very happy fate.
Film career of Maya Plisetskaya
In 1952, Maya Plisetskaya first appeared in films.
She can be seen in the film “The Big Concert” by Vera Stroeva. Well, then came roles in ballet films: “Swan Lake”, “The Tale of the Little Humpbacked Horse” and “Anna Karenina”. Prima Bolshoi was invited to the film-opera “Khovanshchina”. The ballerina also participated in the film adaptation of the ballets “Isadora”, “Bolero”, “The Seagull”, “The Lady with the Dog”. In 1974, she was invited together with the Bolshoi Theater soloist Bogatyrev for the television number “Nocturne” to the music of Friedrich Chopin from the ballet “In the Night” by choreographer Jerome Robbins. Maya Plisetskaya - Bolero In 1968, the ballerina played Betsy in the film adaptation of the novel “Anna Karenina” by Zarkhi. Plisetskaya did an excellent job with the work, despite the difference in working on the theater stage and on the film set. In some films she even had roles with text. For example, in Bejart's ballets. Plisetskaya also starred in the role of Desiree in the film “Tchaikovsky” by Talankin. Then Vaitkus invited the dancer to play the role of Čiurlionis’s muse in the film “Zodiac”. In 1976, the actress played a ballet star in the television film “Fantasy” based on Turgenev’s story “Spring Waters”. She succeeded brilliantly in the role of Polozova. Choreographic duets were staged by choreographer Elizariev.
Maya Plisetskaya's diet is simple - eat nothing
After feature films, documentaries began to be made. The main role again went to Plisetskaya. Television people became interested in the fate of the artist, the development of her career, and various facets of her personal and creative life. The most striking documentaries about Maya Mikhailovna: “Maya Plisetskaya. Familiar and Unfamiliar" and "Maya Plisetskaya". In addition, the films “Maya” directed by Sakagushi for Japanese TV and “Maya Plisetskaya” directed by Deluche for the French are dedicated to her work. In the film “Maya Plisetskaya assoluta” he showed a ballerina in a dance and there were invariably “swan” hand movements that made Maya famous throughout the world.
With a height of 167 cm, Maya Plisetskaya’s weight was from 49 to 58 kg
However, Maya herself believes that you need to dance with your whole body. The legs, head, body and, naturally, arms should be involved. “It’s important to dance to the music, not to the music,” says the ballerina. The celebrity’s creative motto can be described as follows: don’t imitate anyone, turn your movements into music. By the way, Maya Plisetskaya’s dance never showed the sketches made by her predecessors. The ballerina always reacted to solo musical instruments and emphasized accents, sometimes by moving her eyebrows or looking at her. Maya Mikhailovna's dancing career turned out to be surprisingly long - she left the stage only at the age of 65.
Further career of Maya Plisetskaya
The ballerina not only performed on the theater stage, but also took on the role of director. At the Bolshoi Theater she acted as a choreographer for Rodion Shchedrin's performances “Anna Karenina” (1972, together with N. I. Ryzhenko and V. V. Smirnov-Golovanov), “The Seagull” (1980), “The Lady with the Dog” (1985 ). And she herself performed the main female parts in them.
Ballerina Maya Plisetskaya and her brother Azary
The ballerina's dance style has become a generally accepted canon. An unexpected turn in the prima's fate occurred in 1983. She was offered to be the artistic director of the ballet of the Rome Opera and Ballet Theater. Maya held this post for a year and a half and periodically came to Rome. She staged "Raymonda" for the open stage at the Baths of Caracalla, presented her "Isadora" and organized "Phaedra".
In 1985, Plisetskaya was awarded the title of Hero of Socialist Labor. And from 1988 to 1990 she headed the Spanish National Ballet in Madrid. For the Spanish troupe, she revived the ballet “Vain Precaution” by Peter Hertel (choreographer - Alexander Gorsky) and introduced “Carmen Suite” to the repertoire. Here she began collaborating with Montserrat Caballe. At the latter’s suggestion, Plisetskaya performed in a production of Giacomo Puccini’s opera-ballet Vilisa. The ballerina also danced “The Dying Swan” to the accompaniment of the live voice of an opera singer.
Maya Plisetskaya and her husband Rodion Shchedrin
In 1988, Maya Plisetskaya performed in the title role, staged especially for her by the artistic director of the flamenco troupe Jose Granero, in the ballet “Mary Stuart” by Emilio de Diego.
In January 1990, Plisetskaya danced her last performance at the Bolshoi Theater. It was “Lady with a Dog”. The ballerina had to leave the Bolshoi Theater due to disagreements with the artistic director, which had been going on since the very beginning of her career.
But the ballerina did not leave the stage, but continued to participate in concerts and give master classes. In the 1990s, Plisetskaya continued her collaboration with outstanding choreographers of the world: with the Marseille Ballet by Roland Petit and the 20th Century Ballet by Maurice Béjart. In 1992, at the Espace Pierre Cardin theater, Plisetskaya performed the main role in the premiere of the ballet “The Madwoman of Chaillot” to the music of Shchedrin. And she celebrated her 70th anniversary on stage, performing the number “Ave Maya,” staged for her by Maurice Bejart.
Maya Plisetskaya did not have children, she devoted herself to ballet
Despite her venerable age, the ballerina was active in public life. In 1994, she organized an international ballet competition called "Maya" and was the chairman of the jury for this competition. A year later she was elected honorary president of the Imperial Russian Ballet troupe.
Creativity[ | ]
Maya Plisetskaya in the ballet Romeo and Juliet, 1961
Maya Plisetskaya is the owner of expressive plasticity, a phenomenal jump, a flexible back, a light step and high musicality. She was the first to introduce such a jump as a “ring” into ballet vocabulary. The ballerina created her own style, distinguished by grace, graphics, sharpness and completeness of gesture, pose, and both each individual and the entire drawing of the party as a whole[21]. In her plasticity, the art of dance has achieved high harmony[6]. From the very beginning of her stage life, the ballerina showed the rare talent of a tragic actress. Possessing an inexhaustible interest in everything new, she was not afraid of stage experiments. She is also known for her phenomenal creative longevity[21].
Parts in the Bolshoi Theater repertoire[⇨]: Kitri
in the ballet Don Quixote,
Odette
and
Odile
in Swan Lake,
Juliet
in Romeo and Juliet,
Syuimbike
in Shural,
Raymonda
in the ballet of the same name,
the Tsar Maiden
in The Little Humpbacked Horse,
Princess Aurora
in Sleeping beauty”,
Mistress of the Copper Mountain
in “Stone Flower”,
Mekhmene-Banu
in “The Legend of Love”,
Aegina
and
Phrygia
in “Spartacus”.
After Galina Ulanova left the stage in 1960, she became a prima ballerina of the Bolshoi Theater. Although she danced in some of Yuri Grigorovich’s ballets, she gradually stood in opposition to the chief choreographer of the Bolshoi Theater, over the years the division into “Grigorovich’s part” and “Plisetskaya’s part” only intensified.
In 1967 she played the role of Betsy Tverskoy
in the film “Anna Karenina” directed by Alexander Zarkhi. A few years later, she chose Anna Karenina for her choreographer's debut and took the stage herself in the title role.
"Carmen", 1974
The ballet Carmen Suite (1967), the miniatures Prelude (1967) and The Death of the Rose (1973), and the dance performance The Madwoman of Chaillot (1992, Paris) were staged especially for the ballerina. She fruitfully collaborated with Maurice Bejart, who staged for her the ballets “Isadora” (1976, Theater de la Monnaie)[22], “Leda” (1978, partner - Jorge Donne, in the same place) and “Bolero” (since 1978), "Kurozuka" (1995, a new version of the ballet in 1988, partner - Patrick Dupont, Palais de Chaillot)[23] and the number "Ave Maya" (1995)[24]. She tried herself in the flamenco genre, participating in choreographer Jose Granero's productions of Asturias (1991) and Mary Stuart.
She acted as a choreographer, staging at the Bolshoi Theater such ballets by Rodion Shchedrin as Anna Karenina (1972, together with Natalia Ryzhenko and Viktor Smirnov-Golovanov), The Seagull (1980) and The Lady with the Dog (1985), performing in they are the main female parties.
According to the ballerina, since “we have been on a diet for decades,” she had to stage ballets for herself out of despair, “out of necessity.” She dreamed of working with Leonid Yakobson and other modern choreographers, but she did not have such an opportunity. I didn’t consider myself a choreographer: “I’m an improviser. I could, perhaps, come up with directorial moves, but not the vocabulary.”
Maya Plisetskaya on the square of the Kievsky railway station after the tour, 2000
In the 1980s, she spent a lot of time abroad, where she worked as artistic director of the Rome Opera and Ballet Theater (1983-1984), and then of the Spanish National Ballet in Madrid (1988-1990), where she resumed the ballet “A Vain Precaution”, performed in performances "Carmen Suite" and "Mary Stuart". In Rome, at the Opera House in the Baths of Caracalla, she staged the classical ballet “Raymonda” by Alexander Glazunov (1984). In 1987, in New York, together with Rudolf Nureyev and Mikhail Baryshnikov, she participated in a gala concert in honor of Martha Graham, where Ruth Saint-Denis’s number “Incense” (1906) was added to her repertoire.[25]
After leaving the theater in 1990, she did not leave the stage, continuing to participate in concerts and giving master classes. On her 70th birthday, she made her debut in the number “Ave Maya,” staged for her by Maurice Bejart[24].
Since 1994, she has been the chairman of the annual international ballet competition "Maya", which was held for some time in St. Petersburg.
Repertoire[ | ]
(*) - the first performer of the part. (**) - the first performer of the role at the Bolshoi Theater.
Grand Theatre
- 1943 - Pas de trois
, “Swan Lake” by P. Tchaikovsky - 1943 - Mazurka
, “Chopiniana” to the music of F. Chopin - 1944 — Masha
, “The Nutcracker” by P. Tchaikovsky - 1944 - Lilac Fairy, Fiolant Fairy
, “Sleeping Beauty” by P. Tchaikovsky - 1944 — Queen of the Dryads
, “Don Quixote” by L. Minkus - 1944 - Myrta
, “Giselle” by A. Adam[26] - 1945 - Raymonda
, “Raymonda” by A. Glazunov - November 21, 1945 - Autumn Fairy
*, “Cinderella” by S. Prokofiev, choreographer R. Zakharov - 1947 - Odette-Odile
, “Swan Lake” by P. Tchaikovsky - 1948 - Zarema
, “Bakhchisarai Fountain” by B. Asafiev - 1948 - The Magic Maiden
in the opera “Ruslan and Lyudmila” by M. Glinka - 1949 - Street dancer
, “Don Quixote” by L. Minkus - 1949 - Tsar Maiden
, “The Little Humpbacked Horse” by Ts. Puni[27] - 1950 — Persian
in the opera “Khovanshchina” by M. Mussorgsky - 1950 - Bacchante
, “Walpurgis Night” from the opera “Faust” by C. Gounod, choreographer L. Lavrovsky - 1952 - Aurora
, “Sleeping Beauty” by P. Tchaikovsky - 1954 - Mistress of the Copper Mountain
, “The Tale of the Stone Flower” by S. Prokofiev, choreographer L. Lavrovsky - January 29, 1955 (on the stage of the branch) - Syuimbike
**, “Shurale” by F. Yarullin, choreographer L. Yakobson (
Batyr
- Y. Kondratov) - 1956 - Laurencia
, “Laurencia” by A. A. Crane, choreographer V. Chabukiani - 1958 - Aegina
, “Spartacus” by A. Khachaturian, choreographer I. Moiseev - 1959 - Mistress of the Copper Mountain
, “Stone Flower” by S. Prokofiev, choreographer Yu. Grigorovich (
Danila
- N. Fadeechev) - 1960 - Tsar Maiden
, “The Little Humpbacked Horse” by R. Shchedrin, choreographer A. Radunsky (
Ivanushka
- V. Vasiliev,
Tsar
-
A. Radunsky
) - 1961 — Juliet
, “Romeo and Juliet” by S. Prokofiev - 1962 - Phrygia
, “Spartacus” by A. Khachaturian, choreographer L. Jacobson - 1963 - Aurora
, “Sleeping Beauty” by P. Tchaikovsky - 1964 - Firebird
, “Firebird” by I. Stravinsky[28], choreographers S.K. Vlasov and N.R. Simacheva, after M.M. Fokin) - March 30, 1965 - Mehmene Banu
**, “The Legend of Love” by A. Melikov, choreographer Y. Grigorovich (
Ferkhad
- M. Liepa,
Vizier
- A. Lavrenyuk,
Shirin
- N. Bessmertnova) - 1967 - Soloist
, “Preludes and Fugues”* to the music of J. S. Bach, choreographer N. Kasatkina - April 20, 1967 - Carmen
*, “Carmen Suite” based on the opera Carmen by J. Bizet, choreographer A. Alonso (
Jose
- N. Fadeechev,
Torero
- S. Radchenko,
Rock
- N. Kasatkina) - 1971 - Aegina
, “Spartak” by A. Khachaturian - June 13, 1972 - Anna Karenina
*, “Anna Karenina” by R. Shchedrin, staged by M. Plisetskaya together with N. Ryzhenko and V. Smirnov-Golovanov, (
Vronsky
- M. Liepa,
Karenin
- N. Fadeechev) - May 27, 1980 - The Seagull, Nina Zarechnaya
*, “The Seagull” by R. Shchedrin, (
Treplev
- A. Bogatyrev) - November 20, 1985 - Anna Sergeevna
*, “Lady with a Dog” by R. Shchedrin, artist V. Leventhal, costumes for M. Plisetskaya by P. Cardin (
Gurov
- B. Efimov)
On other stages
- 1973 - Rose
, “The Death of the Rose”* to the music of “Adagietto” by G. Mahler, choreographer R. Petit, National Ballet of Marseille - 1974 - Anna Karenina
, “Anna Karenina” by R. Shchedrin, Bolshoi Opera and Ballet Theater. A. Navoi (Tashkent), (1974, Novosibirsk; 1975, Vilnius; 1976, Odessa; 1978, Sverdlovsk) - 1974 - “Proust, or Interruptions of the Heart” to composite music, choreographer R. Petit
- December 28, 1976 - Isadora
, “Isadora”* to the collected music, choreographer M. Bejart, “Ballet of the 20th Century”, Monte Carlo Opera - 1978 - “Bolero” to the music of M. Ravel, choreographer M. Bejart, “Ballet of the 20th Century”, La Monnaie Theater (Brussels)
- December 19, 1978 - Leda
, "Leda" * (partner - H. Donne), choreographer M. Bejart, "Ballet of the 20th Century", La Monnaie Theater - 1983 - The Seagull, Nina Zarechnaya
*, “The Seagull” by R. Shchedrin, Pergola Theater (Florence), (1985, Municipal Theater, Gothenburg) - 1984 - Phaedra
, “Phaedra” to the music of J. Auric, choreography by S. Lifar, “Ballet of Nancy”, Odeon Theater (1985, Paris), Rome Opera (1985) - 1990 - “El Renidero”, choreographer J. Lopez, Teatro Colon (Buenos Aires, Argentina)
- 1991 - “Asturias” to the music of I. Albeniz; “Mary Stuart” to music by E. de Diego, choreography by J. Granero[es]
- 1992 - main role
, “The Madwoman of Chaillot”* to the music of R. Shchedrin, choreographer J. Caciuleanu[fr], theater "Espace-Cardin[fr]", Paris - 1995 - “Kurozuka”, a new version of the 1988 ballet, choreographer M. Bejart, Palais de Chaillot, Paris (partner - P. Dupont)[23]
Filmography[ | ]
Roles
- 1951 - Big concert - Odette
(from the ballet “Swan Lake”) - 1953 - Masters of Russian Ballet (film ballet) - Zarema
(scenes from the ballet “The Bakhchisarai Fountain”,
Maria
- G. Ulanova,
Khan Girey
- P. Gusev) - 1957 - Swan Lake (film-ballet) - Odette-Odile
[29] - 1959 - Khovanshchina (film-opera) - captive Persian woman
- 1961 - The Tale of the Little Humpbacked Horse (film-ballet) - Tsar Maiden
- 1964 - Blue Light-1963 (concert film)
- 1964 - Assemble Venus (musical film)
- 1965 - New Year's calendar (musical film)
- 1967 - Anna Karenina, director A. Zarkhi - Betsy Tverskaya
- 1969 - The highest... (musical film)
- 1969 - Ballerina (film-play) - main role
- 1969 - New Year's kidnapping (concert film) - ballerina Plisetskaya
- 1969 - Tchaikovsky, screenwriter and director I. Talankin - Desiree Artaud
- 1974 - Anna Karenina (film-ballet) - Anna Karenina
- 1976 - Fantasia (film-ballet), director A. Efros - Polozova
(
Sanin
- A. Berdyshev) - 1977 - Poetry of Dance (“Bolero”, “Isadora” by M. Bejart) (film-ballet) - main role
- 1978 - Carmen Suite (film-ballet), director F. Slidovker - Carmen
- 1980 - Bolshoi Ballet (concert film)
- 1981 - Heartbeats (film-ballet by R. Petit) - Duchess of Guermantes
- 1982 - The Seagull (film-play) - main role
- 1985 - Zodiac (TV movie) - Muse
- 1986 - Lady with a Dog (film-play) - Anna Sergeevna
Participation in films
- 1959 - Bolshoi Ballet in America (documentary)
- 1961 - USSR with an open heart (documentary)
- 1964 - Maya Plisetskaya (documentary) (director V. Katanyan)
- 1970 — Composer Rodion Shchedrin (documentary)
- 1985 - Lesson of Darkness (documentary film, directed by D. Delouche)
- 1986 - Agrippina Vaganova (documentary)
- 1987 - Maya Plisetskaya - familiar and unfamiliar (documentary) (director B. Galanter)
- 1991 - Revelations of choreographer Fyodor Lopukhov (documentary)
- 1999 - Maya Plisetskaya. Dancing the Music (Documentary)
- 2000 - Maya (documentary film, director D. Delouche)
- 2002 - Maya Plisetskaya (from the series “Portraits of an Era”) (documentary)
- 2005 - Alexander Godunov. Escape to Nowhere (documentary)
- 2007 — Nerijus (Lithuania, documentary)
- 2008 - Evgeny Svetlanov. Memories... (documentary)
- 2008 - Saulius Sondeckis' Formula for Happiness (documentary)
- 2009 - Agrippina Vaganova. The Great and the Terrible (documentary)
- 2010 - Catherine III (documentary)
- 2011 — Ballet Aristocrat (Lithuania, documentary)
- 2012 - Andris Liepa. It's Hard to Be a Prince (documentary)
Archive footage
- 1971 - Adagio (documentary)
- 2005 - Ave Maya (documentary film) (director N. Tikhonov)
- 2005 - An element called Maya (documentary) (director N. Tikhonov)
- 2012 — Reflections of Yuri Rost (documentary)
- 2016 - Big
Memoirs[ | ]
Maya Plisetskaya is the author of several memoirs:
- Plisetskaya M.
Ya, Maya Plisetskaya. - M.: News, 1994. - 496 p. — 50,000 copies. — ISBN 5-7020-0903-7. - Plisetskaya M.
Thirteen years later: Angry notes in thirteen chapters. - M.: AST, AST Moscow, News, 2007. - 250 p. — 10,000 copies. — ISBN 978-5-17-045344-3.[30] - Plisetskaya M.
Reading your life... - M.: AST, Astrel, 2010. - 752 p. — 5000 copies. — ISBN 978-5-17-068256-0.
Personal life of Maya Plisetskaya
As a star of the Bolshoi Theater, Maya was surrounded by many men. She wrote about her romances with ballet soloists Vyacheslav Golubin and Esfendyar Kashani. The ballerina was married twice.
Maya Plisetskaya and Maris Liepa
Her first husband, Maris Liepa, was also a theater soloist and dancer. They married in 1956 but divorced three months later.
Maya met her second husband Rodion Shchedrin while visiting Lily Brik. The ballerina and the composer did not seem very interested in each other. Plisetskaya was seven years older than Shchedrin. Only three years after they met, they started dating and spent a vacation in Karelia. And in the fall of 1958 they got married.
Maya Plisetskaya and her husband Rodion Shchedrin
“He extended my creative life by at least twenty-five years,” Plisetskaya said about her husband. And her husband supported her in everything and defended her interests before the Soviet government. It was thanks to his efforts that Prima got the opportunity to travel abroad.
True, despite a happy family life, the couple never had children. Shchedrin protested, but Maya never decided to give birth to a child and leave the stage. Her husband justified her, saying that ballet requires a wonderful physique, and after childbirth, the figure of any woman inevitably changes. Many ballerinas, he argued, lost their profession due to pregnancy.
The last years of Maya Plisetskaya's life
In 1993, Maya Plisetskaya became an honorary professor at Moscow State University.
A year later she published an autobiographical book “I, Maya Plisetskaya.” The next book was published only in 2007 in the form of memoirs “Thirteen Years Later: Angry Notes in Thirteen Chapters.” Three years later she published the book “Reading Your Life...”.
Illustration for the book “I, Maya Plisetskaya”
And in 2000, as a result of a survey by the Public Opinion Foundation, she was chosen as Person of the Year in the field of science, culture and art. This is how popular love showed itself.
From the beginning of the 90s until the last days of her life, Prima and her husband lived in Munich. They were forced to stay there due to health problems. The doctors who helped Maya Mikhailovna stay in shape were found only in Germany. Also in 1993, the couple received Lithuanian citizenship.
Ballerina Maya Plisetskaya gained worldwide fame
Plisetskaya herself regretted that she rarely had to visit her homeland in recent years. She occasionally attended ballet competitions and appeared at the anniversaries of her colleagues.
Notes[ | ]
- ↑ 12
Plisetskaya Maya Mikhailovna // Great Soviet Encyclopedia: [in 30 volumes] / ed. A. M. Prokhorov - 3rd ed. - M.: Soviet Encyclopedia, 1969. - ↑ 12
Encyclopædia Britannica - FemBio
- Munzinger Archiv (German) - 1913.
- BNF identifier (French): open data platform - 2011.
- ↑ 123
Great Soviet Encyclopedia. Ch. ed. A. M. Prokhorov, 3rd ed. T. 20. Payment - Prob. 1975. 608 pp., ill.; 21 l. ill. and cards. - “Maya Plisetskaya was one of the greatest ballerinas of the 20th century” – foreign press | Classica.FM (unspecified)
(inaccessible link). Retrieved February 21, 2020. Archived April 1, 2020. - ↑ 1234
Plisetskaya M. M. I, Maya Plisetskaya... - M.: AST Moscow, 2008. - 490 p. - ↑ 1234
Shulamith. Fragments of memories. Authors: Shulamith Messerer - The Undying Swan by Maya Plisetskaya
- Victor Fishman.
Forever alive “The Dying Swan”
(undefined)
. Weekly independent newspaper “Russian Germany”, No. 2, 2008 (January 14, 2008). — Connection of times. Retrieved June 29, 2013. Archived July 2, 2013. - Letters from scientists and cultural figures against the rehabilitation of Stalin
- Radio Liberty, program “Lithuanian Passport”
- Efimovich N.
Plisetskaya dreamed so much of going on the stage of the Bolshoi once again // Komsomolskaya Pravda. — 05/02/2015. - Plisetskaya bequeathed her ashes to be scattered over Russia. // Interfax, May 3, 2020.
- ↑ 12
Dance of the Little Swans, “Career”, No. 4, 2000. - Maya Plisetskaya: “After Swan Lake, I was simply turned inside out.” // “Arguments and Facts” No. 46, 11/17/2010.
- ↑ 12
Voice of blood. // “Kommersant”, 08/04/1999. - MK will still pay Maya Plisetskaya. // NEWSru.com, 11/15/2001.
- MAYA PLISETSKAYA - FROM “MK” (Russian). Moscow's comsomolets. Retrieved December 25, 2020.
- ↑ 12
V. M. Gaevsky. Article in the encyclopedia "Ballet". - Ovchinnikov, V.V. (ed.). Popular encyclopedic illustrated dictionary Europedia
. - Olma-Press, 2003. ISBN 5-224-03916-9 - ↑ 12
Fondation Maurice Béjart - ↑ 1 2
Ave Maya
(undefined)
. Polit.ru (May 3, 2015). Retrieved May 5, 2020. - Anna Kisselgoff. Dance: Graham With Baryshnikov, Nureyev and Plisetskaya // New York Times
, October 7, 1987. - Roslavleva, 1968, p. 45-48.
- Roslavleva, 1968, p. 122.
- Roslavleva, 1968, p. 124.
- Roles in films
- Tatyana Kommersant-Kuznetsova “Maya Plisetskaya: the comet must leave a tail” Newspaper “Kommersant”, No. 179 (3755) dated 10/02/2007
- Decree of the President of the Russian Federation of November 20, 2005 No. 1344 “On awarding the Order of Merit to the Fatherland, 1st class, to M. M. Plisetskaya.” (unspecified)
(inaccessible link). Retrieved November 20, 2010. Archived April 16, 2020. - Decree of the President of the Russian Federation of November 18, 2000 No. 1880 “On awarding the Order of Merit to the Fatherland, II degree, to M. M. Plisetskaya.” (undefined)
. // Official website of the President of Russia. Retrieved July 20, 2016. - Decree of the President of the Russian Federation of November 21, 1995 No. 1168 “On awarding the Order of Merit to the Fatherland, III degree, to M. M. Plisetskaya.” (unspecified)
(inaccessible link). Retrieved November 20, 2010. Archived April 16, 2020. - Decree of the President of the Russian Federation of November 9, 2010 No. 1393 “On awarding the Order of Merit to the Fatherland, IV degree, to M. M. Plisetskaya.” (unspecified)
(inaccessible link). Retrieved November 20, 2010. Archived April 16, 2020. - Happy Birthday to ballet dancer Maya Plisetskaya // Website Kremlin.ru
- Maya Plisetskaya became an officer of the Order of the Legion of Honor (unspecified)
. Izvestia (February 23, 2012). Retrieved February 23, 2012. Archived June 3, 2012. - Hero of Socialist Labor Maya Mikhailovna Plisetskaya :: Heroes of the country
- Gafin A.D.
Maya Plisetskaya // UNESCO Bulletin (special issue). - Commission of the Russian Federation for UNESCO, 2005. - P. 48. - Seagulls in the city. Chekhov medals were awarded at the Moscow Art Theater // Rossiyskaya Gazeta. — October 28, 2010.
- Honorary Prize of RAO "For contribution to the development of science, culture and art" (undefined)
. Retrieved March 20, 2013. - The Baltic Star award ceremony took place. Archival copy of April 18, 2020 on the Wayback Machine // World Club of St. Petersburgers
- Petrova A. S.
“Person of the Year” in science and culture - Zhores Alferov
(unspecified)
. Foundation "Public Opinion" (December 21, 2000). Retrieved June 23, 2020. - International Maya Plisetskaya and Rodion Shchedrin Foundation (inaccessible link)
- Lenta.ru: : Plisetskaya, Maya (unspecified)
(inaccessible link). Retrieved September 20, 2012. Archived April 22, 2013. - 4626 Plisetskaya (1984 YU1) (English). JPL Solar System Dynamics (29 August 2003). - JPL Small-Body Database Browser. Retrieved November 20, 2013.
- 4625 Shchedrin (1982 UG6) (English). JPL Solar System Dynamics (29 August 2003). - JPL Small-Body Database Browser. Retrieved November 20, 2013.
- Anatoly Simonenko.
The famous artist Eduardo Cobra painted Maya Plisetskaya
(undefined)
. Newspaper “Evening Moscow” (October 11, 2013). - City. Retrieved November 16, 2013. (current link to article with matching title) - Anna Nistratova.
Street artist Cobra: “Now I have a reader’s card of the Library of Arts on Dmitrovka”
(unspecified)
(inaccessible link). Interview magazine (October 24, 2013). - Interview. Retrieved November 16, 2013. Archived November 28, 2013. - Dedicated to Maya Plisetskaya
- “The genius of Maya Plisetskaya is in the sincerity and depth of living every moment on stage” (interview with A. Liepa before the gala concert of the “Autographs and Images” project at the Bolshoi Theater of Belarus, BelTA, 10/18/2019).
- “The Carmen Suite was performed in Smolensk” (about the concert in memory of the great ballerina Maya Plisetskaya, Smolensk Narodnaya Gazeta, 10/28/2019).
- Schott Music Mourns Death of Maya Plisetskaya (English)
- In memoriam Maya Plisetskaya (inaccessible link)
- The Bolshoi Theater will hold an evening in memory of Maya Plisetskaya
- The Maya Plisetskaya (Russian) square opened in Moscow. TASS (November 20, 2015). Retrieved November 20, 2020.
- (unspecified)
was unveiled in Moscow . Official website of the Ministry of Culture of the Russian Federation (November 20, 2016). Retrieved November 20, 2020. - Shchedrin: Maya Plisetskaya Square in Moscow should become a meeting place for couples in love (Russian). TASS (November 20, 2016). Retrieved November 20, 2020.
Death of Maya Plisetskaya
Maya Mikhailovna Plisetskaya died on May 2, 2020 in Munich at the age of 90 from a massive myocardial infarction. The farewell to the ballerina took place in Germany, and according to the will, Plisetskaya’s ashes will be united with the ashes of Rodion Shchedrin, after his death, and scattered over Russia. The death of Maya Plisetskaya was a loss for the whole world. Initially, on November 20, 2020, a creative evening was supposed to take place at the Bolshoi Theater on the occasion of the star’s anniversary, her 90th birthday. Now on this day an evening in memory of the great ballerina will be organized.
Memory[ | ]
Peonies variety "Maya Plisetskaya"
Named in honor of Plisetskaya[ | ]
- Peony variety bred in 1963.
- Asteroid (4626) Plisetskaya, discovered on December 23, 1984 by the astronomer of the Crimean Astrophysical Observatory L. Karachkina [45] (asteroid 4625, discovered in 1982 by the same discoverer, was given the name (4625) Shchedrin [46]).
- Since 2000, the choreographic school in Togliatti has been named after Maya Plisetskaya.
In October 2013, Brazilian artists Eduardo Cobra[pt] and Agnaldo Brito
dedicated one of their works to the ballerina. The graffiti, 16 m high and 18 m wide, includes an image of a ballerina in the form of a swan, is located on the wall of a house in Moscow at Bolshaya Dmitrovka, 16, building 1[47][48].
On May 4, 2020, the Mariinsky Theater troupe dedicated the play “Shurale” to Maya Plisetskaya[49]. Theater evenings[50] and symphony concerts[51] in different cities continue to be dedicated to the memory of the ballerina.
On May 15, 2020, instead of the planned award ceremony, an evening dedicated to Plisetskaya was held at the Zaubersee - Days of Russian Music festival in Lucerne[52][53].
On November 20, 2020, instead of the prepared anniversary evening, a concert was held - an evening in memory of Plisetskaya at the Bolshoi Theater[54]. On the same day, the name of Maya Plisetskaya was given to the square on Bolshaya Dmitrovka, between houses 12/1 building 1 and 16 building 1. A board with the name of the square and information about it was placed on the right wall of building 16 building 1 - in the same place where there is graffiti by artists Eduardo Cobra and Agenaldo Brito[55]. On November 20, 2020, a monument to the ballerina was unveiled in the park[56][57].
Maya Plisetskaya Awards
Maya Plisetskaya has a countless number of different awards. In 1959, she was awarded the title of People's Artist of the USSR. She is also an Honored Artist and People's Artist of the RSFSR. In 1985 she was awarded the title of Hero of Socialist Labor.
Maya Plisetskaya lived in ballet until her last days.
Ballerina - full holder of the Order of Merit for the Fatherland, Commander of the Order of Arts and Letters (France), Commander of the Order of the Grand Duke of Lithuania Gediminas, has the Order of Lenin, the Order of the Legion of Honor (France), the Lenin Prize, Grand Commander's Cross of the Order of Merit for Lithuania, Order of the Rising Sun, III degree (Japan), Order of Isabella the Catholic.
Literature[ | ]
- L. Zhdanov.
Maya Plisetskaya = photo album. - M.: Art, 1965. - 200 p. — 30,000 copies. - B. A. Lvov-Anokhin.
Maya Plisetskaya // Work of an actor. - M.: Soviet Russia, 1966. - 78 p. — 70,000 copies. - N. Roslavleva.
Maya Plisetskaya. - M.: Art, 1968. - 164 p. — 75,000 copies. - Nataliia Arkina.
Maja Plissezkaja: Mit einem Poem v. Andrej Wosnessenski. - Berlin: Henschelverlag, 1969. - 48 p. - L. Zhdanov.
Maya Plisetskaya = photo album. - M.: Planet, 1980. - 174 p. — 20,000 copies. - Shadrina N. I.
Plisetskaya Maya Mikhailovna //
Association “International United Biographical Center”
Who is who in modern culture: Exclusive biographies. - M: International United Biographical, 2006. - Issue. 1. - pp. 5-43. — ISBN 5-93696-007-3.
